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Caterpillar Jazz Talk Pattern 7.
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Start each bar with the root of the chord.
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So that's the safest
thing that you can do.
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That's the most guaranteed
thing that's going to work.
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But it's a matter of if you go there, and
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what do you do with the next few notes
to get to the next chord change.
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So, you're just going
straight to the chord note.
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And the next chord's going to be F.
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So you're not just gonna go,
you got to get to F somehow.
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You can either go straight up to it.
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[MUSIC]
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Back to the B.
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[MUSIC]
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So you can see you can stay close
to the next written note, and
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try to get to it somehow or other.
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You can either go from below or from above
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[MUSIC].
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Or you can just change the variety of it.
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[MUSIC]
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Pattern 8,
this is gonna be slightly different.
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You're going to start each bar
with a third of the chord.
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So sometimes starting with
the root is a bit obvious.
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So the third sometimes
takes you away from that.
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Gives you a nicer [SOUND] it's more vague.
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It's interesting.
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[MUSIC]
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So you're still not doing too much.
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You're bouncing on to the third or
under the third.
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[MUSIC]
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Into the B for third, there.
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[MUSIC]
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Pattern 9.
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Mix it Up.
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This is where you get to experiment
with all of the various ideas.
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It's better to have some kind of
underlying structure to start with or
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to fall back on.
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So this is why jazz musicians
practice skills and patterns so much.
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So let's go through the right hand.
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You're gonna start with the riff.
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One, two, three.
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[SOUND] And
you're going to go down to triad.
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And you're going up a 7th,
and you go down a scale,
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then you're going to mirror
the right hand, or the left hand,
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and you're going to go up
a scale right to the end.
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[MUSIC]
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So one, two three, down in the triad.
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[MUSIC]
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Up to 7th, straight,
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[MUSIC],
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and you're going to mirror and
the scale right to the end.
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[MUSIC]
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And again you can try that smooth or
with swing.
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[MUSIC].
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[MUSIC]